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white light of the sun or disintegrated. This can be see n through a hole letting a ray of sunshine in a dark room, making passing throug h a triangular glass prism and projected onto a white screen. Be noted that deco mposes into a strip with the colors red, orange, yellow, green, blue and violet distinguibles.AsÃ perfectly, it is said that an object is of one color, green f or example, because all radiation absobe less color the green, which is reflecte d. Every artist who claims to be colorful should pay close attention and study w idely chromatic laws, and dominate the behavior of color when you use it to deve lop their expressive abilities and be able to present a varied repertoire of col or harmonies. These laws apply to all techniques involving painting in color. PRIMARY COLORS primary colors are those that can not be obtained by mixing other : yellow, red and blue. Mixing them in pairs side are obtained. Secondary colors are obtained by mixing two primaries and are: orange (red + yel low), green (yellow + blue) and violet (red + blue). Mixing a primary and one se condary intermediate are obtained, the description of which are involved includi ng colors: yellow-orange, red-orange, red-violet, blue-violet, blue-green, and y ellow-green. + Painting Workshop obtaining a color Oil How do you solve a particular color? In order to properly define and represent a color, should be taken into account the following concepts: tint, trend, satura tion and tone. A color can be matched if we ask and answer the following questio ns appropriately: 1 - What color is it? The answer will be red, yellow, blue, gr een, orange, violet, gray, etc 2 - Is it pure or derivative? If it is not pure, toward which other color shows the trend? Can lead to red or orange to purple, t o yellow to green or orange, to blue to green or violet, can be neutral gray or color drift into a warm or cold, a cold color can tend toward a warm and vice ve rsa. 3 - Is it bright or off? Check if the color has the highest intensity of co lor is gray trend and to what degree. A red can express the maximum saturation o r brightness, or contain a certain amount of gray (half saturation) or simply a gray with a small amount of red (low saturation). 4 - Is it light or dark? Analy ze the degree of lightness or darkness of color, high, medium or low, in relatio n to the scale values. To reproduce a color, for example, the violet of the left wing of the table, pro ceed as follows: We take the purple that we have in the palette and apply it to the canvas, looki ng at that difference is most striking about the original color. Is that trend, saturation or tone? Note that I pitch and into the clearing. We added a little white and observe What is now the biggest difference? The tren d, as it tends to color our red and blue is more original. We added a little blu
e. What is the most prominent difference now? It's intensity, our color is brighter and the original is more greyish To reduce the intensity and graying color, add a touch of complementary, in this case yellow-orange color and we will be perfectly matched. Then we proceed to obtain the ocher of the left wing of the table starting from the primary yellow. We take a cadmium yellow and applied it to canvas, noting that the most striking difference about the original color and tone to the dark. Darken adding a little black (we use carmine + green) and observe. It is still t oo yellow. We must reduce the intensity of the yellow. To reduce the intensity of yellow employ some of the complementary purple (crims on & blue) and observe. The difference now is the tendency towards red. To reduce the tendency to red, add a touch of complementary, green, and you have the color matched perfectly. Diagram of the six keys KEYS basic tonality values Examples based schemes in the Added clear High dark Media clear Media dark Although a subject manifests a wide tonal range, should always be reduced by gro uping most resemble each other in three categories: light, medium and dark. Shou ld not be used more than four or five tones if they are to Alta clear that the e ffect is simple and impactful.ÂWith a light shade, two or three intermediate an d one is dark enough to resolve most issues. A good help is to squint to get ton es out of focus and become somewhat blurred, helping the artist to streamline an d Alta dark hues similar grouping and not fall into the trap of wanting to repre sent them all. In determining the tonal limits, seek the shade lighter and darke r establecedlo the case and on the canvas to not pass them. The rest of the tona l range is developed between these two extremes. Media clear pictures or paintin gs can be solved in a key tonal high, with domains clear, or in a low key with d omains of dark. Using four values: one white, one intermediate course, a dark an d a black middle are six keys are the basic tonal Media dark, with an appropriat e structure, we ofracerÃ¡n the best results and greatest impact tone of simplici ty, strength and clarity of expression. In each key must act in extension domina ting tone. In a high key issue, for example, a snowy landscape, the target may b e the main tone, harmonizing with this intermediate and black. Key issues in hal f light or dark, for example, landscapes and street scenes, the dominant tone is the Baja clear
Baja clear Low dark Low dark The colors can be reconciled by the unity of color, that is, when all the colors of a work are located on the same side of the circle, or the contrast, using co ld or warm and complementary. Many works of art have been based on an outline of one or two main colors, their similar and complementary. Analogous colors are t hose colors adjacent similar within a quarter of the circle. For example, four a nalogous color scheme: yellow, yellow-orange, orange and red-orange, or blue, bl ue-violet, blue-green and violet, or three colors: red, red-orange and orange. I n these schemes there is a dominant color or parent who is involved in all and r elates doing that harmonize with each other: in the first example of the above s chemes is yellow, blue in the second and third red. FAMILIES OF COLOR If there i s one common denominator that unites them, the colors are a family. Thus we have the red, made up of all colors and gray more or less partake of it. Looking at the color wheel, we see that the family of each of the primary comprises almost more than half of the circle. The red, for example, ranging from the yellow-oran ge to blue-violet through all the intermediate colors. This does not mean that b ecause they are family, everyone can participate in a work, since in that case w e might incur in profusion and jeers. The schedules should be limited to three o r four adjacent if Sanders get a harmony. For an air of family with all the colo rs used on a building we can get them a bit mixing with parent or dominant color or a little gray or black. We can also bring all the colors of a work, when com pletely dry, apply a thin layer of fog as a dominant color, as being related and combine harmoniously. Two colors are harmonious when part of one another. A grisaille is a harmony of gray colored. In it, all the colors involved are more or less neutralized by the addition of gray, getting sweet harmonies and pleasant effect. In similar schem es, as in the monotone, can demonstrate the effect of regularity and monotony. T o avoid this, they can be encouraged by adding some accents complementary color to the domain. These stresses, however small, intense, excit ing and create a feeling active, energizing the scheme. In some landscapes built by large masses of green and blue-green variety, which may give an impression s omewhat passive, are encouraged using a small red note that available in the gar b of a figure, the roofs of some houses or anything this color THE START OF THE AREAS An array of single color line may indicate a good color i f you have a domain contrasting color schemes or a value in the monochromatic. W hen all colors have the same length and the same power, there is a clash between them by brutal competition to achieve supremacy. 1 2 3 In a settlement based on areas of blue and orange with the same intensity and si ze, color becomes unbearable struggle (1), can be avoided by having one of the t wo has more extension than the other, for example, four fifths for the orange an d fifth for the Blue (2), or elseÂif we have equal areas, neutralizing, clarify ing or obscuring one of the two and leaving the other equals (3). It also can be harmonized by mixing a little of each other or adding to the two a little touch of gray. Monochrome is the simplest scheme, as it takes place in one color with
different intensities and colors, for example, a red-violet shades in light, me dium and dark, and that the addition of white, black or gray only act to raise o r lower the pitch and do not alter their distinction. A good example of this is the series of Picasso's blue and pink. As these schemes are always a bit monoton ous, they are encouraged with the introduction of complementary color accents, a nd also by variations of warm or cold color: a chord red values can manifest tendency to vermilion and crimson other trend. But in th ese cases the scheme loses its quality to become contrasted monochrome. COMPLEME NTARY AND SUPPLEMENTARY ADJACENT Complementary an additional two Double s complementary adjacent adjacent adjacen t TRIO AND SOME OF ITS VARIATIONS complementary FOUR COLOR SCHEMES (Quartet) FIVE COLOR SCHEME (Quintet)
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